The NIBIRU project was born in 2012, following a relentless process of spiritual and emotional knowledge that involves every member of the band and is reflected in a totally free and impetuous creative approach.

Since the first album Caosgon, the music of NIBIRU is recognized a unique identity, instinctive and difficult to label in an artistic panorama overloaded by clone bands and lack of originality. These characteristics are further developed in the second album Netrayoni, whose creative audacity produces an even more ferocious, unpredictable and personal result.

An achievement mostly recognized at an international level, as proved by the invitation to the prestigious Roadburn festival and the article dedicated to NIBIRU by the best-selling European metal magazine, Metal Hammer UK.

The artistic path is cheering also in their homeland, where the band’s reputation as live act and the positive reviews grow steadily, but the goal of NIBIRU is focused mainly on the foreign market, more receptive and open minded as shown by the European tour with the Enisum and the opening concerts for Oranssi Pazuzu, Uada, Suma, Nightstalker and Phantom Winter.

Despite the references to the Aghori Hindu sect on the first two albums, concentrated exclusively on anthropological aspects, the music and concept of NIBIRU are not recognized in any ideological, cultural or religious movement, as the third album Padmalotuscould perhaps mislead.

The study of ancestral Enochian language is part of a deep research – sometimes in altered state of consciousness – of the wildest, most tribal and ritualistic nature of the human being, which NIBIRU continue to develop in their fourth album Qaal Babalon (mastered by Audiosiege, already partner of bands such Converge and Tau Cross).

A return to their origins anticipated by the EP Teloch, the entry of the drummer L.C. Chertan and the departure of the guitarist Siatris, events that definitively clarify the artistic intentions of NIBIRU both on instrumental and conceptual levels, while keeping their creative approach unchanged.

The genre proposed by NIBIRU could be described as Ritual Psychedelic Sludge and finds no term of stylistic comparison with other active bands, although the influences of Black Sabbath, Neurosis and MZ.412 have always been pretty clear since their inception until today.

In terms of atmosphere, NIBIRU relate themselves to the post-punk/darkwave scenes of the early ’80s (Fields Of The Nephilim, Virgin Prunes, early Christian Death, Joy Division) and to the pioneers of Depressive Black Metal, then bands like Xasthur and Shining.

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On a conceptual level, NIBIRU develop the lyrics through the recitation of the Enochian keys, whose evocation aims at precise ritual effects, and the insertion of very intimate and disturbing verses in Italian.

NIBIRU‘s sources of extramusical inspiration are the complete works of occultists and esotericists such as Aleister Crowley, Kenneth Grant, Austin Osman Spare and Julius Evola, but also psychiatric essays, a deep inner illness and a peculiar cult for the actor Klaus Kinski.

Staying true to their creative method of recording live albums in studio, NIBIRU are already crafting the follow-up of Qaal Babalon, calling out an increasing number of potential listeners eager to be involved in their ritual.

The musical journey to the dark star NIBIRU is an experience from which anyone can only come back deeply changed, an evil and visceral representation that sets new rules for genres such as black metal, sludge and drone as we know them.